they wanted to know what the germans came in. love banding thing away. i'm not going to like my own car. everyone was later holding every day. getting you ready to meet the german can join me. rachel, do it on the w. me. and now we're meeting the women who champions culture and the german government, we simply had to communicate this in all the debates. taught there must we really have to scream at the top of our lungs, me to call on you. of course, in this context, debates about colonialism are bound to arise. but i think it was a lot of form into what you always meant to be at lee,

i hope and wish the visitors the forum will leave the building with an enriched experience. there is more than unites us than what devices and the house is for come off to welcome to the german chancellor in berlin. yet the stuff . this is where the federal commissioner for culture in the media, monica clutter holds office and of course ms. cortez yours. german cultural policy, georgia could to put it in for, for us is miss curtis. you've been in office for over 7 years now, and your 2nd term is set to end in the fall. he once said, it's the best job in the world. is that still how you feel? wonderful. yeah. does that finish manase? no to me. yes, i still feel that way and that's my own subject to view. but given my background,

this is in fact, the nicest job i could imagine. and i am grateful to anglo merkel that i could serve a 2nd time this minister state a culture in media here in the chancery where i can help shape the federal cultural policy compared on an international level. i think this is quite unique. not only because i believe i am currently the longest serving minister of culture in europe, but also because in my view, germany does quite a lot for its culture compared to other countries being able to play a key role in shaping policy is a huge value to me both on a personal level as well as on a greater political level. and i do my job with great enthusiasm and passion. whoever's on the market best make was up a guy's online soft as he couldn't dish. so you can share policies as you deem best . we've prepared to look back at your time in office. it love watching

the monica router's has been the federal commissioner for kosher since 2013 music literature, theater opera on cinema. her bread and butter on her passion. during her turn, she has a greater significance to germany's culture. department budget has grown by 2 thirds, which is over 2000000000 euros. these resources are also used to fund develop another focus is the funding of german film productions. and over $450000000.00 euros are spent each year to increase germany share of the world's phil market and strength and its foothold as a filming location. the scooters. a member of the center, right christian democratic party faced stiff resistance from the art world. when passing the cultural property protection act, her aim is to prevent the illegal trading of antiquities and thus take responsibility for other countries. cultural heritage. now germany strictly

regulates the import, an export of art. in 2013 the girl that's case a spectacular find of 1500 pieces of art light on the dark issue of nazi looted artwork. monica brutus called for a more thorough research in providence, and raised awareness of the need to restitution looted art from colonial times. the humble form with another huge project. the exhibition space is housed inside to reconstruct the city palace where not only difficult to construct difficult questions such as the deal was stolen, nor the museum of the 20th century, still taking shape in berlin. and it will host major works good news. the, when it's monica group is dearest projects, is the beethoven jubilee, even though many concerts had to be cancelled due to the covert,

the pandemic. the then your article went up and looking back at the cover pandemic, it must have been one of the greatest challenges of your term and office. what impacted you personally, the most often good mark in desert. first, michelle mason. but i felt most taken back by the genuine, visible and absolutely palpable hardship periods by artists just like the rest of us, they made personal sacrifices. every one of us did across many different groups that includes children, young adults who couldn't get on with their lives. and the many elderly who suffered loneliness, it also applies to the entire economy and it's many unreadable sectors. so let's listen boston about biting korea even. met wouldn't really shook me was how much creative struggle to be seen and heard. they felt they had to grow attention to their predicament, to fear that the social significance might be overlooked or not appreciated. but

they were always saying that we have a professional association. do we need to be hungry? we cultural policymakers, myself included, see ourselves as the strongest lobby. and i successfully manage to raise a very, very large amount of funding i new courses. i am currently in the gym and government showed great support and the hardship that artist faced not being able to fulfill that in a most dr to create was already bad enough on what really disheartened me was to see how the cultural scene felt that society was largely indifferent to the damage they suffered under the covert pandemic. nicole and i found a child that was in there called 2 centers are important born is that i see that, oh, you're saying it wasn't due to lack of financial support. you thought of that?

but it has subjective experience, played a key role. thus basel to learn does inside know. yeah, it was too much. i kept having to fight saying, please consider the creative sector. not there's a local economy that has an industry, it's the 2nd biggest sector of the economy. the contribution the creative sector makes to germany's gross social product is only 2nd to the automotive industry and exceeds the finance sector. but the main thing was to artists and their significance to be recognized by society. we placed a great burden on them. cultural establishment were the 1st to close and i needed for them not to be the last to reopen, but in the end, that's what happened in the end, what counted most was if we close the schools, we can't justify why a theater should be allowed to stay open that makes sense from societies perspective as a whole. i guess it, those are the priorities that society is set and they should be respected as such.

about we could go shopping and smaller stories. that was always possible. move please. yes, of course. in grocery stores that was to satisfy a vital basic need. and i consistently pleaded for us to open up museums if we were going to open up clothing stores, for instance, that worked out in the end. but we really have to scream at the top of our lungs. hey, we're here to the ultimate study, couldn't to court, but beyond the interest of the artist well being. society is a whole, has been missing out as an audience. had a social relevance beyond private interest, and it was so important to keep emphasizing that during the pandemic. i personally felt like i was in with school and i think many other people felt the same. they were missing the opportunity to exchange thoughts and of course, confront difficult subjects on stage. for instance, the create sector is not just about entertainment and it also plays the role of

a critical corrective in our democracy. we've all seen the topics that have arisen in our isolated society tv space. and i think that shows how much culture was missing as a platform for dealing with rather than topics. we constantly had to communicate this in all the cove debates. don't forget the they're not just important in their own right, but they're important to all of us in each month for the samsung phones elevators. put together a little overview to show how culture fared and the panoramic what it achieves and where it's struggle with. let's take a look at the alca kim start in, shawn pointed over me on germany, the country of poets and thinkers, the site of the world's largest book for both 6800 museums. germany is the country

with the most professional orchestra of $130.00 in total. and its clubs are world famous whoever the coffee pandemic brought kosher to crow. ah, and just gave really is to a fundamental debate how the value distribution, inner society federal commission or foreclosure, monica gluten responded with a 1000000000 euro funding program to prop up the cultural seems artist from all fields applies for support. but the 1st lockdown was followed by a 2nd. the cultural sector grew increasingly desperate. ah, took the last flight pension fund. protests became increasingly loud, both in the streets and on line.

has injected a little 1000000000 euros into culture. groups and companies received emergency grants, special funding and purging allowances. over the culture scene was definite, 50 actors made their frustration known a new tube and provocative and civic away down corner. thanks to covered 900 to keep if you want to be afraid, again, feel free to despair, but don't have, don't. the end of the pandemic is in sight. and there is a euphoric feeling of optimism for what damage has been done. that's only be revealed later, difficult trial for germany as a cultural hard the hand couldn't. le, you've supported artists financially. but as we said,

money is not enough. it is nice when you, when you look back on the pandemic, would you say you could have done something different? maybe better the fun to say, i didn't impressive that we took the culture scene and it's hardships into consideration so early on in the pen demik. and we responded to what was happening if i may add, i think we did more than any other country in the world. $2100000000.00 euros per year. my culture budget practically doubled. and i secured an additional 2000000000 euros just to help those in the creative industry through the pandemic. this helps keep the infrastructure in place and to damp the financial impact on artist personal lives. we've created a wide reaching grant program with thousands of individual grounds. and was there strong demand as if there was, in less than half a year, we spent $900000000.00 of the 1st 1000000000. so we then received an additional 1000000000 euros because we were stuck in the middle of the 2nd lockdown. and this

money is slowly being used up. we used it to make it possible for artistic productions to continue despite the coven 19 crisis and locked down. for example, we had a default fund of 50000000 euros for film productions. we also have a big grant program, and we have been helping out places such as museums, private theaters and cinemas requiring conversions due to the pandemic with ventilation systems. and above all, we have helped make productions possible. again, they will be performed once the stages opened up again when we succeeded in doing this with huge sums of money, the likes of which i think have not been seen in germany or anywhere in the world. but only so this was not enough to reassure the artists. i believe it is also very important that they feel valued and i'll give them the opportunity to rediscover the autistic voice. and that is where i, like many others,

became very impatient. that to is understandable. in the middle of the pandemic, the discussion surrounding colonial looted art also came into focus by one example is the benign bronzes, which are in many different museums in germany. huts you have taken a very strong position on this. what is your opinion regarding this looted article? don't get another. most ones are the sort of one word form and it's club off to see if in general i must say that the forum and i think the migration of refugees which europe experienced in the past years made the topic of colonialism and today's aftermath of our colonial history got a huge momentum. as a result, the general population is now more sensitized to the issue, and this has been a blind spot in our remembrance culture for a long time. beginning of to we started to come to terms with our recent history by

looking at the 1st and 2nd world wars. the period before that when europe had colonized africa is only now coming into view. and that's good for us. of course, some very visible issues have come into focus. the humble forum with the non european art it displays has in part a colonial context. and then you have to determine what was acquired and sally and should thus be returned. and this issue is particularly visible with a big mean bronze. we have research the history that we are familiar with it. and we know that germany has purchased over 500 beneath bronzes from the art market, but they were acquired and fairly so we are prepared to return them. we would like to return a substantial amount of them from 2020 to onwards. 20 nice. we've also prepared a short film on the homework fall, which will now take a look at it you'll see which exhibits are on display there. the homework form will

open to the public in just a few days. in the humble form of the heart of berlin is likely the largest construction project during monica router's time in office. it is a landmark, but also a place for debate. reconstructing the prussian royal palace as proven contentious for the very beginning. bound to pieces in the 2nd world war, the palace was demolished in east germany replaced by the palace of the republic house for the people, the boots following the fall of the iron curtain up to had to go to which has been and to which socialism instead the wheels of history are turned back on the berlin palaces reconstructed and redesigned the place for world culture and cultural exchange. under the new name, the humboldt form, the prussian cultural heritage foundations and electrical collections will be moved

into the humble foreign. these precious objects that have accumulated over hundreds of years include lucid arc from colonial times shouldn't day be returned. one example is the balloon thrown sometime rooms. it was given city to germany and viewed as the oppression beneath bronzes romped by the british in 18. 97 and what is today and there were sold for many countries, including germany. objects still have blood on them. luxurious though demanding the return of the splittings to open its own, his being to host them. public pressure has been mounting tremendously in response . cultural commissioner, monica griffith has called museum directors and kosher ministers from across germany to discuss the issue, they agreed to start returning the stolen items. it has a breakthrough and a paradigm shift. as more and more details and individual exhibits are becoming known as what appears that the benito bronzes could just be the tip of the iceberg

. this trigger boat is from the violent and was likely stolen by german colonial troops. me tumbled forward is full of contentious items. i know our own is failed with controversy. was the decision in favor of the home by phone still right in your view? absolutely. space is. absolutely. i have never invested so much energy and passion in a cultural project as i have in this one. the hook for him was only half finished when i took it over when coming into office 8 years ago, the founding directorship had the former head of the british museum near mcgregor on board, who's a global museum star. and he was a very knowledgeable advisor to us. we've now can hook form into what it was always meant to be a new type of center for the art. it's more than

a museum. it works on an interdisciplinary level. we have a cinema stages. we will be able to hold conferences that quote, yonce capable of handling large streams of visitors. we have rooms that address berlin as a city state. and one entire floor is dedicated to cultural understanding and we designed it in collaboration with a humble university. there will also be collection pieces on display from the berlin state museums of depression, cultural heritage foundation. it's a huge and diverse selection spanning over 42000 square meters. although some of the pieces are controversial. if one of the mother is active. yes, i always wonder why people put it like that, even though nobody has actually been in sight to see the exhibit. all these claims that everything is so controversial and difficult and will tend to focus on that, although no one has actually seen the exhibition yet. that 42000 square meters with

an amazing selection of exhibit and some collection paces from outside europe, that fills me with pride. the cultural nation that germany is today had to redefine the central spots and its republics history. given such an opportunity to lie down, many states could have resisted the temptation to place themselves and their own history in his favorable light as possible. right in the center of attention instead of only referencing ourselves and german history has some wonderful highlights we could have exhibited. we decided that the non european should have the place that here they could respond to the german and mediterranean stories being told on the museum island, which is just across. i think that signifies how germany sees itself in the 21st century. we want to present ourselves as a partner to the world, the normal, the name humboldt stands, the curiousity about the world, alexander and vill him from whom both make great leaps in intellectual history. the

name also stands for openness, tolerant, underlining one's own experience with what is possible in other parts of the world . ultimately, i hope and wish that visitors to the forum will leave the building with an enriched experience. despite our differences, there is more that unites us than what divides us. of course, in this context and debates about colonialism off bound to arise. but i think it's good and right that these debates will take place that. when does he dodged on sunday? from the good on christmas that does that mean all the references are explained? is there provenance laid out their past and what part of history they're from? but even when it's a problematic part of history? it's a minority, mr. in miss who they are in the, in how to do it. i'm to mission. i don't consider it my role to get to involved with a i have to respect my museums, autonomy, i trust the experts i trust,

they know how to deal with it appropriately. and in line with today's expectations, it takes the greatest amount of transparency and openness to present the problematic circumstances of how the pieces were acquired. that can be no credibility without a broad transparent depiction if difficult context. and it's true, we have debated the benign bronzes all the more carefully. but everything was always known and out in the open. only now it's weights differently. the list boat is one very central exhibit. we moved it into the hook for him before the building was completed. otherwise he wouldn't have been able to fit it in. there was a great public response. now it will be exhibited. they're telling us the narrative that existed back then in the region where it was built. it's also a tale of missionaries and if difficult, colonial events. but i think the whole world has of right to learn about it.

i believe the key to being able to show something like that lies and being honest about the difficult circumstances of provenance over specialists. i hope not so far sagging to con them and ellis off to the intriguing aspect and design of apps. i'm just interested to get enough i as we come to a close, i would like to change the topic for a moment at the slightest, misquote, us, you are the 2nd woman to hold this office life equal opportunities for women in the cultural sector and elsewhere has always been an important issue to you. have you succeeded in what you set out to achieve is ransom in some unfound my last toned. at the beginning, i was shocked to see how far behind the whole culture and create a scene was when it came to equal opportunities. culture sees itself and rightly so as part of the, of a god as a socially progressive area. but when it comes to gender equality, they have quite a lot of catching up to do. i have set up

a round table to which we have brought our findings. i was joined by female representatives of all sectors from literature to visual arts, music don't journalism. we realize that there is far less equality in our creative areas than we would like to see. we can get a string and vaal and that's why we set into woman's culture office in the german cultural council, which i finance. we have set up a mentoring program to help young women who have already achieved a good amount of success in the arts to achieve their next career goals. with the support from partners in the professional seen as difficult issues surrounding sexual assault came out, particularly in light of the ones, the scandal. we set up the information center themis, which is chiefly financed by the federal government. now fortunately, various sectors are also pitching in one thing i have achieved which was relatively

easy, was to point to equal numbers of men and women on all the committees in my house. and there are several hundreds in some areas. for example, the film industry. we had to actually change legislation in other areas or we needed to do was point out that this wasn't a fair way of distributing leadership roles with a female perspective on the awarding the funding, for example, female applicants more often considered to the prize last but not least, 44 percent of management positions in my house are held by women. i think if a woman is at the helm and can in hardy and a sat leadership, then a lot can be achieved. but the has to be an awareness for it. right above the boost fine. most duffy does. i can you imagine continuing in this room here, i have to use the cliche response that for the voters to decide personally, i am really passionate about working in this field and i don't see any reason to

stop. but it depends on the election result. thank you very much for talking to us . who's me? me the me the news . the

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